MUSIC FROM THE GREAT MOVIE THRILLERS

"LET'S MAKE LOVE" OST (1960)

Original released as "La Adorable Pecadora" on 
LP Philips mono PO8436L (ARGENTINA, 1960)

A Dupla Antologia de CELLY CAMPELLO

Nascida em São Paulo, Brasil, a 18 de Junho de 1942 (nesse mesmo dia nascia também Paul McCartney em Liverpool, Inglaterra), Celly Campello (de seu nome próprio Célia) foi a grande referência da música brasileira no período pré - Jovem Guarda (movimento que Roberto e Erasmo Carlos encetariam com estrondoso sucesso em 1963). Apenas com 16 anos gravaria um primeiro tema (“Handsome Boy”) num compacto de 78 rpm a meias com o seu irmão, Tony Campello (tudo porque a letra da canção não se prestava a uma interpretação masculina). Seis meses depois, em Março de 1959, viria a gravar a canção que a tornou famosa de um dia para o outro: “Estúpido Cupido”, a versão de Fred Jorge para “Stupid Cupid”, de Neil Sedaka e Howard Greenfield (o disco vendeu mais de 120.000 cópias, quebrando todos os recordes da época). Até o expoente máximo da bossa nova se rendeu aos seus encantos. «É uma moça que sabe usar com grande tarimba seu afiado aparelho vocal», disse Tom Jobim. Nos 3 anos seguintes Celly Campello criou as raízes da futura pop brasileira através da gravação de 5 albuns fundamentais: “Estúpido Cupido” (Setembro de 1959), “Broto Certinho” (Abril de 1960), “A Bonequinha Que Canta” (Novembro de 1960), “A Graça de Celly Campello e as Músicas de Paul Anka” (Abril de 1961) e “Brotinho Encantador” (Outubro de 1961). Na onda da inocência feminina daqueles anos, Celly cantou ingenuidades como "Túnel do Amor", "Lacinhos Cor-de-Rosa", “A Lenda da Conchinha” ou "Os Mandamentos do Broto", em oposição à rebeldia do rock masculino.

Era tão popular que inspirou uma fábrica de brinquedos a criar uma boneca com o seu nome e outra de chocolates a lançar o bombom Cupido. Foi ainda o pivot do programa Crush em Hi-Fi, o primeiro da TV brasileira dedicado ao rock. Apelidada de namoradinha do Brasil (muito antes, portanto, de Elis Regina ter direito a essa distinção), foi eleita em 1961 como a Rainha do Rock (o rei seria Sergio Murillo) pela “Revista do Rock”. Em janeiro de 1962 Celly abalou os fãs anunciando o seu casamento com José Edwards Gomes Chacon, um contador da Petrobras com quem namorava desde os 14 anos, e a consequente decisão de abandonar a vida artística. O casamento ocorreu na cidade de São Paulo no dia 7 de maio de 1962, passando Celly a chamar-se Célia Campello Gomes Chacon, e encetando assim uma viragem radical na sua vida. Encantada com a vida pacata do interior, Celly referia-se mais tarde aos anos de fama sem arrependimento. Ocupava-se com pinturas, colaborando com obras assistenciais, cuidando dos dois filhos e dos dois netos ao lado do marido, com quem viveu até o fim dos seus dias. O irmão Tony Campello, que a introduziu no mundo artístico, acha que a cantora deveria ter continuado a gravar, mas respeitou sua decisão: «Ela viveu em paz, encontrou a felicidade pessoal dessa maneira».



Em 1965, Celly foi sondada para apresentar o programa Jovem Guarda, com Roberto e Erasmo Carlos. Declinou o convite, abrindo o caminho para o estrelato de Wanderléa. A última volta de Celly aos palcos foi breve, em 1976, quando a Rede Globo lançou a novela "Estúpido Cupido" e a convidou para alguns episódios, interpretando-se a ela própria. Gravou ainda mais 2 albuns (um em 68 e outro em 76) e alguns compactos mas sem o sucesso do início da década: a voz continuava óptima, mas os tempos, esses, tinham mudado definitivamente. Morreu em Campinas, cidade paulista onde residia, numa terça-feira de Carnaval, a 4 de Março de 2003, vítima do cancro detectado sete anos antes na mama direita. Os anos de tratamento reduziram o avanço da doença, mas não impediram a metástase óssea que acabaria por lhe tirar a vida. Celly tinha 60 anos de idade. A dupla Antologia que aqui se disponibiliza reúne o essencial da época de ouro de Celly Campello. Posteriormente será apresentada uma outra coleção dos anos de retorno (1968-1979) que servirá apenas como uma curiosidade, visto não ter o significado e a importância destes primeiros anos.

Having been born in São Paulo, Brazil, the 18th of June 1942 (in this exactly day was also born Paul McCartney in Liverpool, England), Celly (Célia) Campello was the great reference of Brazilian music in the period before Jovem Guarda (the musical stream that Roberto and Erasmo Carlos would begin with tremendous success in 1963). With only 16 years she recorded the second side (“Handsome Boy”) in a 78 rpm single with her brother, Tony Campello, recording the first half (this happened only because the lyrics of the song were not meant to be sang by a male singer). Six months later, in March of 1959, she recorded the song that turn her to a celebrity from one day to another: “Estúpido Cupido”, Fred Jorge’s version of “Stupid Cupid”, by Neil Sedaka and Howard Greenfield (the record sold more than 120,000 copies, breaking all the sale records of the time). Even the top voice of bossa-nova surrended to her charms: «She is a young woman who knows how to use like great tarimba her sharp vocal device», said Tom Jobim. In the three following years Celly Campello created the roots of future pop Brazilian music through the releases of 5 basic albums: “Estúpido Cupido” (September of 1959), “Broto Certinho” (April of 1960), “A Bonequinha Que Canta” (November of 1960), “A Graça de Celly Campello e as Músicas de Paul Anka” (April of 1961) e “Brotinho Encantador” (October of 1961). Following the wave of the feminine innocence of those years, Celly sang naïve songs as “Túnel do Amor, “Lacinhos Cor-de-Rosa”, “A Lenda da Conchinha” or “Os Mandamentos do Broto”, in opposition to the revolt of the masculine rock. 

She was so popular that inspired a toys factory to create a doll with her name and another one of chocolates to launch the Cupido bonbon. She was also the host of the TV show Crush in Hi-Fi, the first one to be dedicated to rock music. Nicknamed little sweetheart of Brazil (long before of Elis Regina to have the right to this distinction), she was elect in 1961 as the Queen of the Rock (the king would be Sergio Murillo) by the “Magazine of the Rock”. In January of 1962 Celly shocked her fans by announcing the marriage with Jose Edwards Gomes Chacon, an accountant from Petrobras, with whom she flirted since her teens, and the consequent decision to leave the artistic life. The marriage took place in the city of São Paulo in the 7th of May, 1962, having Celly changed her name to Célia Campello Gomes Chacon, beginning that way a drastic change in her life. Seduced by the country life, Celly would talk later about the years of fame without any regret. She used to spend the time with paintings, collaborating with charity works or taking care of her two children and later of her two grandsons, living with her husband until the end of her days. Her brother Tony Campello, who introduced her in the artistic world, thinks that she must had continued to record, but he respected her decision. «She lived in peace, found the personal happiness in that way».

In 1965, Celly was invited to present the TV show Jovem Guarda, with Roberto and Erasmo Carlos. She declined the invitation, opening the way for the stardom of singer Wanderléa. The last return of Celly to the stages was brief, in 1976, when the TV Globe launched the "Estúpido Cupido" novel and invited her for some episodes, making the role of herself. She recorded two more Albums (one in 68 and another one in 76) and some singles and EPs but without the success of the beginning of the decade: the voice was still excellent, but the times, those, had changed forever. She died in Campinas, São Paulo city, where she lived, in a Carnival tuesday, the 4th of March, 2003, victim of a cancer detected seven years before in her right breast. The treatment years had reduced the advance of the illness, but they not could prevent a bone metathesis that would took her life away. Celly was 60 years old. The double Anthology which is presented here, reunites the essential of the golden period of Celly Campello. Later, another collection from the return years (1968-1979) will be presented here. It will be just a curiosity, because it will have not the meaning and the importance of these first years.

BOBBY DARIN: "For Teenagers Only"

Original released on LP ATCO SP 1001

(US, September 1960)

In 1960, titling your LP "For Teenagers Only" was betting on a long shot that teenagers would fork over the money for a full-length when they could buy at least half a dozen 45s for the same price. But with Bobby Darin's recent success in the adult pop market (thanks to "Mack the Knife" and the "Darin at the Copa" LP), executives at Atco were understandably concerned that they were leaving behind some of Darin's earliest fans (i.e., younger listeners who'd loved "Queen of the Hop" and "Splish Splash"). "For Teenagers Only" is a very strange beast, with a few of the bluesy uptempo numbers that Darin had done so well with during the late '50s - just listen to "Bull Moose" (not included here) if you think he wasn't a great rock & roll singer - combined with several titles that would have done much better on his adult-focused albums of the time. (As it turns out, nearly all of the material was from the vaults, mostly recorded during 1958.) The opening blast is straight-ahead rock & roll, with "I Want You with Me" and "Keep a Walkin'" (the latter written by Darin friends and teen pop maestros Neil Sedaka and Howard Greenfield). Darin himself wrote the next two songs, and keeps things light with a fun title by Doc Pomus-Mort Shuman, "I Ain't Sharin' Sharon." The second side mellows considerably, with versions of songs at least a decade old in "That Lucky Old Sun" and "A Picture No Artist Could Paint" as well as the Otis Blackwell R&B standard "All the Way Home." Teenagers weren't biting, however, and the LP languished without even a whimper on the charts. (John Bush in AllMusic)

BOBBY DARIN: Live "At The Copa"

Original released on LP ATCO 33-122

(US, July 1960)

"Darin at the Copa" is the live document from Bobby Darin's standing-room-only engagement at Jules Podell's Copacabana club in New York City, an appearance that confirmed for the adult pop crowd that the former singer of ephemera like "Splish Splash" had made the complete transition from rock & roll to more "serious" music. Serious this record certainly isn't, though. A complete entertainer, Darin only occasionally concentrates on the business of singing, making "Darin at the Copa" the type of concert work that rarely succeeds as a purely aural recording. Bobby Darin is obviously performing, not just singing, and listeners are often left out during his countless jokes and vocal asides - each of which get enormous responses from the original audience. The music is solid and Darin does his finger-popping best, but he walks a thin line between swinging and an outrageous parody of same. At the time, his big hits - "Mack the Knife" and "Dream Lover" - were such common currency that he thought it only natural to play around with them; listening decades later, it's difficult to avoid the wish he'd played this date just a bit more straight. (John Bush in AllMusic)

NILLA PIZZI: "Souvenir d'Italia" (1954 - 1961)

ME AND MY SHADOWS (in mono and stereo)

Original released on LP Columbia (EMI) 33SX 1261 (mono)

(UK, October 1960)

Cliff Richard's third long-playing and second studio album features him and the Shadows in a series of nicely played and beautifully recorded but mostly relatively undistinguished songs, nine of which were authored by the current Shadows membership or founding member Ian Samwell. With the exception of "I Don't Know," the latter's work tends toward Elvis Presley-style rockers (no surprise from the author of "Move It"), while the songs written by Hank Marvin, Jet Harris, and Bruce Welch are more lyrical. The best song here is "Evergreen Tree," a Ricky Nelson-style ballad, very much reminiscent of "Traveling Man," co-authored by Aaron Schroeder and Wally Gold, on which the Shadows abandon their electric instruments for an all-acoustic spot - a couple more songs like that and this album would have been a smash, and it's not like there isn't some good stuff scattered throughout. 

The Shadows in 1960 (left to right): Bruce Welch (rhythm guitar, vocals); Tony Meehan (drums); Jet Harris (bass, vocals); Hank Marvin (lead guitar, piano, vocal)

The Hank Marvin-Jet Harris-authored "She's Gone" is an unexpectedly strong piece of bluesy rock, at least musically, though the overly complex lyrics leave a little to be desired, and also shows the band trying for (and largely capturing) a sound similar to that on Presley's second album. Richard and company were also clearly trying for a softer sound on this LP, even brushing up against doo wop music in the intro of the beautiful ballad "Tell Me." The appeal of much of the material here is limited, however, as most of it is highly derivative of better American models - even the hard-rocking "Choppin' 'N' Changin'" is pretty formulaic, albeit well played and loud, and "Gee Whiz It's You" is a valiant if somewhat failed attempt at capturing an American sound. "Working After School" would have been better off as a doo wop number, though Marvin's guitar does compensate for the absence of some vocal flourishes. (Bruce Eder in AllMusic)

ELVIS: Just Out Of The Army!

Original Released on LP RCA Victor LSP 2231

(US, April 1960)

One of the greatest understatements in the history of rock and roll album titles, "Elvis Is Back!" declared in no uncertain terms that Elvis Presley wasn't as good as he was in the 1950s, he was better. From rock to pop, gospel-tinged ballads to tough Chicago blues, Elvis made magic in less than an hour. Seldom in his career would he be so consistently superb in voice, performance and material. Anyone who said that Elvis was dead after the army could not possibly have heard this album, and the singles that were released around it. The DCC mastering is about as good as it gets. The stuff simply has never sounded better. Anyone who thought Elvis lost his intensity and his feeling for the blues after the army (I have read this) must be deaf!

Just out of the army, and distanced from the new smooth pop of the day, Elvis seems totally at ease whether singing the sublime harmony-laden doo-wop of "Thrill Of Your Love"; cool pop, "Stuck On You"; sultry jazz, "Fever"; steamy blues, "Reconsider Baby" or just plain down-&-dirty rock’n’roll, "Such A Night". Whatever the type of music, Elvis seems totally at home and unstoppable. This album is the most overlooked rock masterpiece in the pop music genre. If there is any doubt as to Elvis's talents as a singer, and any question as to his vocal range, and any wondering as to his depth of feeling, this album eliminates them. Although the album lacks thematic unity, the listener is treated to a wide-range of musical genres, and a close listen shows that Elvis had a knack for making all genres his own. Perhaps the most profound insight one gains from listening to this remarkable album is the utter loss we have all suffered as a result of the poor management he received. No one can ever really know what Elvis could have accomplished had he not languished in Hollywood hell during his prime recording years. This album provides a clue, and it is painful to realize what could have been.

THE BEAT OF THE POPS - VOLUME 30

THE BEAT OF THE POPS - VOLUME 29

THE BEAT OF THE POPS - VOLUME 28

THE BEAT OF THE POPS - VOLUME 27

THE BEAT OF THE POPS - VOLUME 26

THE BEAT OF THE POPS - VOLUME 25